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theguardian.com

@theguardian Fri, 23 Jun 2023 06:30:31

‘No Ugandan has ever crossed here’: reclaiming the African road trip

For one couple, a journey through 12 countries gave an insight into how travel in Africa is still dominated by western tourists. They hope to inspire other black Africans to follow them

When Ugandans Maureen Agena and Edward Echwalu arrived at the Lesotho border during their five-month road trip across east and southern Africa, the immigration officer did a double-take. “I’ve been at this post for eight years and no Ugandan has ever crossed through,” the official told the pair, as she fumbled through her records to see if travellers from the east African country could get into the country visa-free.

“For most of the places that we have been to, that has been the comment,” the couple tweeted, as they chronicled their trip on social media.

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@theguardian Sun, 04 Oct 2026 07:04:58

Wakaliga Uganda review – a blistering superhero movie with hardboiled cops and a nefarious 'girl with a voluminous bum'

Chisenhale Gallery, LondonA young man possessed by the spirit of a mythical Buganda warrior leads the film-making collective's explosive new diatribe against the theft of cultural artefacts – with the help of a 'video joker' Wakaliga Uganda makes action movies with a cast from the Kampala streets, props built out of scrap, desktop special effects and a bucketload of wit. The studio's breakout hit, Who Killed Captain Alex?, followed a martial arts master on a mission for revenge against the mafiosi who killed his brother, a Ugandan military officer sent to clean up the capital's slums. Featuring helicopter gunships, shootouts and kung fu showdowns, and reportedly made for a few hundred dollars, this blockbuster bears little relation to the films you might expect to find in an art gallery (setting aside the shoestring budgets). Which is to say, it is very good fun to watch.Founded by Harriet Nakasujja and Isaac Nabwana, the film studio also known as Wakaliwood came to the attention of the wider art world in 2017 when it was included in the German art festival Documenta. That influential show was part of a general turn towards the culture being made by independent collectives outside Europe and North America, especially those that pioneer unconventional ways to fund their activities (indicatively, the studio used the money to install fibre-optic cables in its neighbourhood). Its entry on to the international art circuit brought higher production value and – if the new commission now showing at the Chisenhale is any guide – a subtle shift in direction and purpose. Continue reading...

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